guy-bellinger
A rejoint le mai 2004
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Note de guy-bellinger
"Les Mots qu'elles eurent un jour" is a unique documentary. Few indeed are the documentaries that investigate... another documentary.
However, this is the case with this film, seeking to learn more about a filmed report made in 1962, shortly after the Evian Accords, which marked the end of the Algerian War. A number of women who were NLF (National Liberation Front) activists, with the exception of one, were released from prison in Rennes in March '62 and transported overnight to Paris, where they were welcomed at the premises of the CIMADE (Inter-Movement Committee for Evacuees). The politically committed filmmaker Yann Le Masson brought them all together and filmed their discussions on the role of women in independent Algeria. Unfortunately, the film mysteriously disappeared and when it was later found, it was without its soundtrack.
After Le Masson's death in 2012, his friend, director Stéphane Pillosio, undertook to give a voice back to these women, who had been silenced by the loss of the soundtrack But making their words audible was no easy task: with no names, no voices, and Le Masson's memories uncertain, with no notes taken, how could he proceed? Little by little, Pillosio pulled at the thread, finding trace of one woman after another. Several had died, while others, for personal or security reasons, preferred not to express themselves publicly. The filmmaker even had specialists read the participants' lips, but they could only reconstruct part of what they said.
What is almost certain is that at this point in their lives, these women hoped to have gained social equality and respect from their "brothers" in the NLF. Unfortunately, as after many wars or revolutions, the women who had fought bravely were sent back to their homes, while the men were busy vying for power.
Well although the puzzle remains incomplete in the end, the women filmed in black and white one day of march '62, are not overlooked any longer. They exist anew, young and beautiful each in their own way, dignified and respected. This magical interlude in their lives, captured between a period of imprisonment and the disappointing return home, will never disappear again.
However, this is the case with this film, seeking to learn more about a filmed report made in 1962, shortly after the Evian Accords, which marked the end of the Algerian War. A number of women who were NLF (National Liberation Front) activists, with the exception of one, were released from prison in Rennes in March '62 and transported overnight to Paris, where they were welcomed at the premises of the CIMADE (Inter-Movement Committee for Evacuees). The politically committed filmmaker Yann Le Masson brought them all together and filmed their discussions on the role of women in independent Algeria. Unfortunately, the film mysteriously disappeared and when it was later found, it was without its soundtrack.
After Le Masson's death in 2012, his friend, director Stéphane Pillosio, undertook to give a voice back to these women, who had been silenced by the loss of the soundtrack But making their words audible was no easy task: with no names, no voices, and Le Masson's memories uncertain, with no notes taken, how could he proceed? Little by little, Pillosio pulled at the thread, finding trace of one woman after another. Several had died, while others, for personal or security reasons, preferred not to express themselves publicly. The filmmaker even had specialists read the participants' lips, but they could only reconstruct part of what they said.
What is almost certain is that at this point in their lives, these women hoped to have gained social equality and respect from their "brothers" in the NLF. Unfortunately, as after many wars or revolutions, the women who had fought bravely were sent back to their homes, while the men were busy vying for power.
Well although the puzzle remains incomplete in the end, the women filmed in black and white one day of march '62, are not overlooked any longer. They exist anew, young and beautiful each in their own way, dignified and respected. This magical interlude in their lives, captured between a period of imprisonment and the disappointing return home, will never disappear again.
Set in the maternity home in Alleur, Belgium, this top level film tells the story of five young mothers in distress and their bitter struggle to get out of the rut, with the help of the dedicated staff at their shelter.
It is a quasi-documentary film, very grounded in reality but also deeply humane, carried by five young actresses (some making their debut) who have thrown themselves wholeheartedly into their roles.
The Dardenne brothers' cinema, once excruciatingly naturalistic (the accumulation of misfortunes in "Rosetta" was truly unbearable), has lost today none of its harshness but has gained in brightness. Society may be cruel to some of its children, but some of its members are there to lend a helping hand.
All in all, this is a work that makes the heart beat with anxiety and compassion, but also with hope.
It is a quasi-documentary film, very grounded in reality but also deeply humane, carried by five young actresses (some making their debut) who have thrown themselves wholeheartedly into their roles.
The Dardenne brothers' cinema, once excruciatingly naturalistic (the accumulation of misfortunes in "Rosetta" was truly unbearable), has lost today none of its harshness but has gained in brightness. Society may be cruel to some of its children, but some of its members are there to lend a helping hand.
All in all, this is a work that makes the heart beat with anxiety and compassion, but also with hope.
Fiction, reality, personal life, and union struggles all intertwine during the complicated shoot of a politically committed film, whose director, nearing the end of his career, must manage to complete at all costs despite the co-production's withdrawal.
« Making Of », directed with a sure hand by the eclectic Cédric Kahn, is not the first example of « a film team filming a film team » at work, far from it, but it proves to be one of the best of the genre.
Among its (many) strengths are a very well-structured screenplay, a subtle narrative (which regularly rekindles the action when the repetition of situations could lead to weariness), a fruitful blend of objectivity and subjectivity, interesting reflections on cinema (by those who make it and on the expectations of those who watch it), social struggles and their fictional representation, as well as an outstanding cast ensemble.
Highly stimulating for the mind, "Making Of" proves even better (because less systematic) than its otherwise excellent predecessors, like Cukor's "A Double Life" or Cayatte's "The Lovers of Verona." Kahn indeed do not simply STATE that art mirrors life and the reverse, he makes us FEEL it. On more than one occasion indeed, the viewer doesn't know whether they're on the film set, within the film itself, in its making-of, in a dream, or in the past during the occupation of the closed factory by its laid-off workers. A little mental work is therefore required, which the lazy viewer will reject but which will delight those who appreciate a call to their intelligence.
Among an altogether perfect cast, playing complex characters, never descending into caricature (even when they verge on it), are to be mentioned Denis Podalydès as Simon, the harried director, Emmanuelle Bercot as the exasperated production manager, Xavier Beauvois as the less-than-reliable executive producer, Jonathan Coen in an atypical role as a star with an oversized ego (but not just that...), Stefan Crepon as a young, up-and-coming director, and Souheila Yacoub as a fledgling actress facing her first major part. Special mention goes to Valérie Donzelli in the supporting role of the director's ex-partner, whom she portrays with finesse.
It's worth noting that the DVD, while featuring a bonus interview with the director and actors, doesn't offer any... making-of! Too bad, the making-of of a film entitled "Making-of" where we see the aforementioned making-of being filmed-now that would have been fun!
« Making Of », directed with a sure hand by the eclectic Cédric Kahn, is not the first example of « a film team filming a film team » at work, far from it, but it proves to be one of the best of the genre.
Among its (many) strengths are a very well-structured screenplay, a subtle narrative (which regularly rekindles the action when the repetition of situations could lead to weariness), a fruitful blend of objectivity and subjectivity, interesting reflections on cinema (by those who make it and on the expectations of those who watch it), social struggles and their fictional representation, as well as an outstanding cast ensemble.
Highly stimulating for the mind, "Making Of" proves even better (because less systematic) than its otherwise excellent predecessors, like Cukor's "A Double Life" or Cayatte's "The Lovers of Verona." Kahn indeed do not simply STATE that art mirrors life and the reverse, he makes us FEEL it. On more than one occasion indeed, the viewer doesn't know whether they're on the film set, within the film itself, in its making-of, in a dream, or in the past during the occupation of the closed factory by its laid-off workers. A little mental work is therefore required, which the lazy viewer will reject but which will delight those who appreciate a call to their intelligence.
Among an altogether perfect cast, playing complex characters, never descending into caricature (even when they verge on it), are to be mentioned Denis Podalydès as Simon, the harried director, Emmanuelle Bercot as the exasperated production manager, Xavier Beauvois as the less-than-reliable executive producer, Jonathan Coen in an atypical role as a star with an oversized ego (but not just that...), Stefan Crepon as a young, up-and-coming director, and Souheila Yacoub as a fledgling actress facing her first major part. Special mention goes to Valérie Donzelli in the supporting role of the director's ex-partner, whom she portrays with finesse.
It's worth noting that the DVD, while featuring a bonus interview with the director and actors, doesn't offer any... making-of! Too bad, the making-of of a film entitled "Making-of" where we see the aforementioned making-of being filmed-now that would have been fun!